"not to ocpost-" please oc post (as long as you're ok with it) i would love to learn more about holly and chun-run!! (as long as you're ok with it!!)
! oh its absolutely ok, i love being enabled ^w^ kjfngdkjf um um. this is another Entire Thing(tm) that requires Exposition(tm) so um hope youre ready to read More Paragraphs !
the short answer is
the long answer is: i went 'hey i have two* ruina-era ocs, what if i put them next to each other for fun? haha they'd hate each other ^w^' ... 'Oh God They'd HATE Each Other.'
so uh, the exposition.
Holly! You've Never Met Her Before. certainly not. ttttechnically. out of narrative, Holly was originally a branch of what Cocoa's character would have been when I was first developing her. in narrative, Holly is what would have happened if they'd never been picked up by LCorp. she's... an entirely different person, basically.
in essence, if you thought the other one was unstable, Oh Boy(tm). Holly is what happens when the city Actually gets the chance to sink its claws in. it's just this time, she was far, Far less quiet about it. girlies who completely fucking failed their stat check Again. there's only so much 'keep your head down and take it' you can really handle before you're just about ready to tear a bitch apart, and well. Well! anyway.
Holly is another angle of the Human/Monster/Object tangle, in where Cocoa's development hinges on the equivalent of trying to balance several spinning plates and Fucking Up Miserably, Holly has started hurling plates directly into the audience with intent. if you will.
humans are always talking some hot shit about how high and mighty they are, the "value" that comes with just being Human, and yet their entire lives are a horrible, animalistic dance of clawing each other to shreds while hiding behind ideas and roles they themselves put into play, like it's some stupid game. that harm is just an intrinsic part of the human nature. she can't fucking stand it.
essentially, she's an odd argument between the Human and Monster corners of the tangle. not only hates the binds that the city places on them of obligation, but also the ties of human emotion-- namely guilt and connection. that endless dance. she wants nothing more than to shed these ideals completely-- unfortunately, she still intrinsically and unconsciously clings onto them, afraid to let go. a human trying to claw its way out of humanity. it doesn't matter what it takes-- she's not letting this city take her first.
...and then there's Chun-Run.
we just don't know where chun-run came from. but she sure Is, and she's Immediately going to make it a Huge Fucking Problem. being aligned with the musicians of bremen, she has.. very normal views about art, and what it means to be Alive. she's the closest thing to a human time bomb i can think of, probably.
she doesn't have much of a character... honestly kind of intentionally? her entire being is solely rooted in the present, the What Is and the What Will Be. she strives to feel what the pianist's performance invoked that day-- through any means necessary. whatever happens to Her, to anything around her-- none of it matters. first and foremost, she is a conduit. it's all secondary to that singular experience.
horrifying. painful, disgusting. striking, poignant, pungent. it makes her sick to think about, but some part of her wishes she was closer to truly Feel it. its repulsive– but she Needs to hear it again. to witness, to experience. what is it– what was it? to grasp onto an ephemeral feeling she physically cannot understand– frustrating, frustrating. but she Needs to. to make the soul sing, cry out in reverence... to call it a Song is almost insulting.
so you have the worlds most unstable walking contradiction with absolutely no outlet and an unidentified fucking thing intent on wringing some undefineable meaning from the soul through physical violence.
so like, moth meet flame.
chun-run is pretty much Instantly infatuated with holly-- but for the Entire Wrong Reasons. it's pretty much "Yeah I Could Make Her Worse." all the way down, but expressed entirely through Murder. yknow, girl things. and holly, of course, fucking hates this are you for real right now??? shut the fuck up about reaching Art through Violence there is something WRONG WITH YOU. chun is entirely convinced that she's what will harmonize closest to that sound she's chasing-- that dissatisfaction, desire, rage... it's so painfully close. and yet she refuses to acknowledge that spark! refuses to engage entirely! is it not the nature of the soul to sing? so sing girl, sing.
girlies who are trying to claw their way back to stability and girlies who want nothing more than to burn to ashes in a beautiful blaze of Being. in conclusion:
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hey do you know what would be a sad as fuck fic concept
yknow that trope of aizawa adopting various students. and when it’s todoroki there’s always that extra little bit of conflict because of endeavor, the number one hero, we can’t prosecute him, yada yada yada.
but it always works out, because fanfiction!
but consider. a version where it doesn’t work out. where todoroki—or really it could be anyone, i suppose, but todoroki is who i’m thinking of—doesn’t get adopted. and has to go home. where he finally managed to speak up, to ask for help, and it didn’t work. maybe, maybe he gets pulled from UA entirely. and aizawa just tries and fails and despairs for two entire years, because all the willpower in the world won’t actually change the law.
then, in the middle of a january night, as aizawa is preparing for his very last term with the class todoroki used to belong to, there’s a knock at the door.
and todoroki shouto asks if there’s still a spare room for him.
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thinking about how the department of the unfaithful is likely a thematic parallel, almost a foil, to wkx. and im not even talking about luo fumeng or liu qianqiao, im thinking of the many women working there, those that have notably no martial arts or power of their own, who are somehow part of the valley and take care of "women's work", the servants, the invisible threads that keep the machinery running. the machinery being wkx's era of ghost valley; still violent and hostile, but notably more inhabitable, with a clear direction of right and wrong.
alright, im going on a tangent, but what i mean is: everytime wkx has personally to do with these women, he is confronted with their "uselessness", their institutional weakness. they dont have any worth beyond the small acts of service they can provide; they dont have money of their own, they are not established in any way in the jianghu, they dont carry titles or achievements to their names, they are rarely portrayed as anything but unfortunate victims of their circumstances. his reflex reaction is always to send them away--out the valley, back to the human world. and he is puzzled and carefully apathetic when they remind him that they dont have anywhere to go but the valley.
im assuming that he has a hard time understanding this; hes not stupid and hes not unsympathetic to the systemic and institutional struggle women face, so im guessing he very carefully does not think about this too hard, to avoid finding parallels to his own experience. these women are prey as he used to be prey, but he is strong and established and has his martial arts now, he doesnt want anything but jump back into the human world--trying very hard not to think about what he fears is true: that there is no place for a ghost like him, and what the life h envisions with zzs is all but an illusion.
the women of the department of the unfaithful reminding him that even as weak, adorable, pretty, and as far removed from the state of ghost as they are, they are still finding it hard to edge out a life anywhere but in ghost valley and let everything remain exactly as it is, i mean, that must be difficult for him. i feel like a big part of wkx has internalized victim blaming, or that he is terrified of the invitable nature of these women's fates.
i mean, he so often looks back at the times when everything was still good and well, before he went to the valley, and im wondering if he is not thinking that he deserved what he got, and that there was nothing he could have done. he has suppressed the memory of how exactly the murder of his parents comes to pass, and he later reasons that he is the one to blame for it, because he was the one who lead the wolf into the sheep's den. so he might think, even as innocent and blameless as he was as a child, maybe it was inevitable for him to be and stay and die a ghost
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I am re-reading Night Letter and am realizing I didn't do nearly enough research into scar tissue as I should have 💀 I spent hours researching lavender marriages and U.S. Army dog tags from the 1950s (as well as ranks and dismissals and such) instead of researching one of the defining characteristics of the main character, aka his severe facial scarring.
Anyway here I am retconning his scars - they are hypertrophic NOT keloid. That is entirely on me because I didn't know what the fuck the term was for it and assumed that if they were raised then they HAD to be keloids. I'm so sorry for this. Like deeply.
For those who don't know the difference, I don't recommend looking up pics unless you're okay with seeing mild medical g*re. Brief description of the aforementioned scar types:
Keloid: raised, shiny, firm & rubbery in texture with no distinct pattern. Caused by an excess of collagen deposits during the healing process. These scars invasively extend PAST the area of the original wound and do not regress over time. Hard to treat. Can form over months to years after an injury. More common in black folks and other melanated people who have a family history of keloid scarring.
Hypertrophic: raised, but not to the degree of keloids, and can also be different colors and usually have a distinct wavy pattern due to collagen deposits. Also caused by an excess of collagen, but not to the extent of keloids. These scars do NOT extend past the area of the original wound, typically do not recur, and CAN regress over time. Typically appear within a month of two of an injury and do not continue to progress (typically begin to regress actually).
I'm attaching an image below the cut comparing the two.
Left is keloid, right is hypertrophic. You'll see the difference. It's easy to confuse them because they're similar in depiction, but this is a good visual example of exactly HOW they are different. Raised scars =/= keloids!!! Do NOT be a fool like me!!!!
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